Dissertations / Theses: 'Time and art'

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Mathis, Neil W. "Inside of an outside in time time| Thoughtitarium." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1603757.

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Since the Devonian Period, 360 million years ago, trees have been foundational for the survival of aerobic life. Today, most humans relate to trees through the idea, material and commodity of wood. This understanding is primarily informed by its use as a building material: the formal attributes of its grain pattern read to assess structural integrity and aesthetic applications. I think of these marks as autonomous and unique natural drawings, documenting time in a scale different from our lifespan. Wood’s composition of cellulose and lignin create patterns that record temporal fluctuations in precipitation and the unique soil compounds of each tree’s growth site as a codex. As an MFA candidate, I used woodworking techniques to explore the relationship between temporality and materiality. Along the way, I became interested in the reductive carving techniques of woodturning as a metaphor for this investigation: cutting through layers of time. Small segments of wood were laminated together in mathematical patterns and turned to reveal parabolic grids on the interior and exterior surface of each object. This study led me to consider the limitations that traditional art display conventions impose on the viewer’s perception of an artwork, and to the realization of the Thoughtitarium; an eight-foot diameter fiberglass hemisphere that hovered above the gallery floor in architectural scale.

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Campbell, Barber Fionna. "The time of Irish art." Thesis, Manchester Metropolitan University, 2018. http://e-space.mmu.ac.uk/621811/.

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How might an understanding of the temporal help us to engage with the visual? To what extent is this mediated by a sense of location - in this case within (or about) Ireland? This thesis takes the form of an enquiry into the meanings of time in relation to Irish art over a period of approximately one hundred years from 1910 onwards. Rather than a focus on the production of meaning within artworks themselves, however, the thesis is concerned with art historiography - an investigation into the wider discursive content of a selection of my published work between 2013-2018. In doing so it establishes a critical and distinctive position for the importance of time and temporality not just in relation to the broader field of art history, but within a wider understanding of the historical formations of Irish visualities. To achieve this, I focus on the deconstruction of selected notions of temporality within the discourses of art history (the role of linear histories, canons and contemporaneity) in conjunction with an analysis of the specificity of Irish temporalities. This takes two forms: evidencing the uneven experience of modernity and the active presences of traumatic memory, both legacies of colonialism, as a means of undoing the progressive drive of linear history, and an accompanying analysis of the complex temporalities of post-conflict Northern Ireland, as a means of more specifically situating how art historical writing can produce the meanings of its artworks in both locations. Finally, in conjunction with a return to the written work submitted to accompany this thesis, I map out further directions this can take, as a means of understanding the crucial role of past modes of temporalities in an engagement with the present and an attempt to shape the future.

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Luckner, Peter P. "The Topology of Time." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405958596.

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Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.

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Smith, Craig. "Structuring interactivity : space and time in relational art." Thesis, Goldsmiths College (University of London), 2006. http://research.gold.ac.uk/11018/.

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This thesis describes the concepts of space, time and interactivity in Relational Art. Relational Art is an interdisciplinary art practice described by the art critic and curator Nicolas Bourriaud in his book Relational Aesthetics (1998/2002). For Bourriaud, Relational Art consists of a location (space) in which viewers endure a physical encounter with the artist and artworks exhibited (time). Bourriaud describes this encounter as `interactivity; ' a term borrowed from digital aesthetics and 20'h Century performance art to describe `viewer-participation' with artworks. This thesis tests the capacity of Bourriaud's Relational Aesthetics to provide a theory of `interactivity. ' The thesis is divided into three parts. Part One includes a critical reading of Bourriaud's Relational Aesthetics and the concept of space in Relational Art practices. In Part One, Bourriaud's `space of encounter' is compared to the `Literalist' artwork described in Michael Fried's "Art and Objecthood" (1968) as well as James Meyer's concept of the 'Mobile Site' (2000). Both Fried and Meyer depict the use of `location' in contemporary artworks. Part Two of this thesis is a demonstration of Bourriaud's concept of time in Relational Aesthetics. Bourriaud describes `time' as that which is `lived through' by the artist, artwork and viewer. The thesis demonstrates this concept of time through the design and performance of an artwork produced specifically for this thesis. Entitled: PartnerWork, this performance artwork consists of two persons continuously exercising in a hotel gymnasium for an `endured' period of nine hours. In Part Three, the thesis proposes a set of criteria for recognizing 'interactivity' in Relational Art practices, including the example of PartnerWork. Interactivity is determined to be 'structured' through successive stages of participation, and is described as having the capacity to alter the formal structure of an artwork.

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Hole, Yukiko. "The Art of David Lamelas| Constructions of Time." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977417.

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David Lamelas’s life-long research projects have included examinations of social phenomena. The artist takes interest in the dynamics of mass communication and media, urban mundane activities, and documentary films. He employs the element of time often in the structure of his art as an innovative approach by which to study his subjects.

I argue that in pairing the element of time with social phenomena, Lamelas exposes how people’s perceptions, both the visual experience and the thought processes impacted by these experiences, tend to work, therefore leading viewers to consider systems of knowledge and their own accumulation of knowledge. His artwork provokes viewers to open their minds to new ways of seeing and thinking, stimulates self-awareness, and challenges their concepts of knowledge.

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DUNNE, THOMAS G. "DEFINING THE ART OF INTERACTIVE REAL-TIME 3D." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085463758.

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Williams, Matthew Earl. "Where time forgot : a bowlers guide." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3218.

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It's about living It's about feeling incomplete It's about nostalgia It's about culture It's about joy It's about how life flashes before our lives It's about sorrow It's about what's hidden under the rug It's about fitting in It's about getting away It's about a journey It's about language It's about class It's about how something clean can leave a stain It's about goodbyes It's about fiction It's about place It's about blame It's about obsession It's about feeling stranded It's about itching a scratch It's about holding on It's about being found It's about how we all settle eventually It's about desire It's about conflict It's about you It's about me It's about future It's about community It's about failure It's about wondering which one of us is next It's about the American dream It's about right now It's about the people we will become It's about the search It's about routine It's about finding It's about change It's about living

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Keller, Kourtney. "Lumensecity: Objects Illuminated in Time." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1206.

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This thesis explores the evolution of my work in graduate school. Upon entering into this course of study my artistic expression was polarized into realms of 2 and 3-Dimensional tactile works and experiments in 4-Dimensions (time) in the form of animations and short films. The content and context of these works have interwoven but their presentations remained polarized. In my masterʼs studies I have attempted to synergize the mediums of my artworks in order to achieve more realized and formal presentations. Following this course, I hope for my work to further evolve.

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Paar, Donna L. "Chronological time development of primary students through art historical inquiry." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991.
Source: Masters Abstracts International, Volume: 45-06, page: 2772. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves [41-46]).

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Antonova, Clemena. "Form, time and real presence in Eastern orthodox art." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431011.

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McBride, Kenneth. "Eastern European time-based art during and after Communism." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/486.

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Soviet-era Communism was a project of emergence that failed to realise its Utopian ambition. Nevertheless, it created an unprecedented simulacrum whose visual language was appropriated by a number of artists as a readymade. This artistic response to everyday reality shaped an unofficial narrative of the Communist epoch. Operating beyond the official realm these artists were subject to varying degrees of censorship, and their activities led to what became known as ‘non-official’ art. Non-official artists suffered from inferior materials, lack of exposure, and were forced to radicalize their methods of production. Without official support the everyday domestic realm and a diverse range of outdoor sites became sites of production. The primary arena, however, and the one that would become the most politicized, was the artist's body that often acted as one or both material and surface. On the one hand the thesis takes the Communist context as a common platform from which to discuss time-based art practices in Eastern Europe while, on the other, it proposes that such a general view is worthless since it does not pay sufficient attention to the particular conditions within each bloc country. While the former serves as a reference for artistic response in a wide view, the latter provokes a deeper, more contextualised, understanding of the social, political, and cultural conditions that ultimately shaped non-official art. To understand fully the effect of the Communist past also involves analysing it through the lens of the present day. A number of works produced pre- and post-1989 are analysed that offer insights into the past, its disintegration, and the transition period. The theoretical and critical thrust is shaped from primary research material gathered from artists, intellectuals, and critics throughout the region, so as to most clearly reflect its own contemporaneous and unfolding discourse. It builds on these key sources and underscores the difficulties faced when trying to locate the works within existing art history canons. Together with this written element, a further two curatorial strands complete the form of the thesis. A website has been created that reflects the thesis enquiry, three re-enactments of historical works are undertaken as a strategy that allows for a more experiential understanding of context, and three new performances devised by the author in response to the contexts researched complete the work. The thesis was written throughout Eastern Europe, and primarily in Poland where the author lives and works.

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Molaeb, Jamil Hammoud. "Artists and art education in time of war, Lebanon /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487675687173272.

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Bonney, Geoffrey, and Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.

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Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making. Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups. Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution. If you engage with children in a community, you engage the extended family at some point. The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years. The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms. The school is a better place to be. This has been acknowledged by the children, teachers and the community The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community. Art needs to be taken from the margins and put to work at the centre.

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Ka'ili, Tēvita O. "Tauhi Vā : creating beauty through the art of sociospatial relations /." Thesis, e-Book (PDF), 2008. http://www.library.auckland.ac.nz.ezproxy.auckland.ac.nz/eproducts/ebooks/Tauhi_Va_Creating_Beauty_Final_Copy.pdf.

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Shatava, Katsiaryna, and Katerina Shatavo. "Art is everything what people do with time and space." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_154656-72400.

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Art is everything what people do with time and space is a theoretical text, which includes some of the author’s ideas on contemporary art situation and its definition. The work could be interesting for the people working in the sphere of humanities, as much as to everybody else living in this world.
"Menas yra viskas, ką žmonės daro su laiko ir erdve" - teorinis tekstas, kuriame galima atrasti kai kurias autoriaus mintys apie šiandieninę situaciją su menu ir apie šio termino definiciją. Darbas gali būti įdomūs kaip žmonėms, dirbantiems humanitarinių mokslų srityje, taip pat ir visiems kitiems žmoniems gyvenantiems šiame pasaulyje.

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Anthony, Elizabeth. "Artistries of interior time, the subjective experience of time and art therapy, focusing on schizophrenia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ44879.pdf.

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Sariot, Eray. "The Relevancy Of Art And Time In Heidegger&#039." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610065/index.pdf.

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This thesis aims at propounding possible relations between the concepts of time and art in Martin Heidegger&rsquo
s thinking. Time and art which hold a central place in different periods of Heidegger&rsquo
s thinking in line with his fundamental question of Being are considered together mainly through the analysis of artwork&rsquo
s temporal characteristics. The temporality of the artwork in question is investigated specifically in terms of its basic elements of earth and world and with its relation to authenticity. In this respect, this thesis argues that the work of art bears a temporality of its own and attempts to show how this is realized with the experience of art

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Mousinho, Magalhães Pacheco Maria Helena. "Space-time and creation in art : three practice-led experiments." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2313.

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This study addresses site-specific sculptural practice and examines the tensions arising from the interactive relations between site and the artworks that exist within it. It applies the concept of ‘anthropophagy’ to re-signify traditional models of representation in order to re-organize them into new contexts through practice-led research into site-specificity. Anthropophagy, a metaphorical vision of the Brazilian indigenous people, utilises cannibalistic customs “in order to legitimate their critical, selective and metabolising appropriation of European artistic tendencies” (Mosqueira 2010: 12). The use of this concept in this thesis arises from the idea of simultaneously belonging to two geographically separated cultural universes: one individual (in my case, Brazilian) and another related to the centralised European/US cultural model of influence that dominates the art world. The differences and intersections between these two universes provide a rich field for practice-led research into how artistic creation is affected by attitudes to space and time. In order to explore this, the thesis is divided into four chapters. The first develops a theoretical framework dealing with concepts of space and time and demonstrates how anthropophagy draws these concepts together. The next chapter examines walking in the UK as an art practice to expand the understanding of site-specific practice through the artworks of Richard Long and Hamish Fulton. The third chapter focuses on work, site and location in order to examine how anthropophagy can re-signify the idea of walking as related in Chapter two. The final chapter analyses site-specificity, drawing on my own practice-led research explored through three art projects implemented in Brazil and England. These projects develop ways to negotiate the complex relationship between art, place and temporal contexts, re-inscribing events within specific sites over time. To build a methodology for the research, I have developed three different projects and situations testing the spatial-temporal contexts of site. By using site-specific art practice I shape my arguments upon a creative practice ruled by concepts, materials and techniques. In my practice I have delineated some creative responses to the transformations of the contemporary world, weaving iii reflections between work/site/body as well as on my own perception regarding current ‘temporalities’. The theoretical frameworks that inform this study range from postmodernism to globalisation theories in order to draw together work, site and location under the overarching concept of anthropophagy.

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Kluitsevska, A. B. "Concept art as development of the time management for artists." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/11388.

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VonSchneden, Franz-Jacques A. T. "What, why, where, when : design, art, time, language and symbols /." View abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1554.html.

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Thesis (M.S.) -- Central Connecticut State University, 1998.
Thesis advisor: Susan G. Vial "...in partial fulfillment of the requirements for the degree of Master of Science [in Art]." Includes bibliographical references (leaves 45-62).

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Furniss, Beverly. "Stitched in time: a progressive interpretation of embroidery." AUT University, 2009. http://hdl.handle.net/10292/947.

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This practice-based art and design project explores the potential use of contemporary materials and techniques in relation to extending aesthetic and structural possibilities of embroidery, with a focus on developing textile formations through the medium of ‘free stitch’ machine embroidery. Embroidery is often perceived by the non-enthusiast as a ‘granny craft’: an ‘old’ technique. Contemporary representations of embroidery suggest that new and innovative interpretations exist. Through investigation and experimentation with products, textiles and techniques, the embroidered artefacts that I have crafted are intended to disrupt the conventional perceptions of embroidery by alluding to conceptual associations of tradition and nostalgia. The aim of this project is to promote embroidery as a diverse medium; its use as a means of narrative, a valued skill that spans both art and craft disciplines, and to lift the status of craft by encouraging discourse of craft practice within an academic environment.

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Holden, Allison Marissa. "Tumble time." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4646.

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TumbleTime is a children's customizable play area that is both fun and educational. Planned to be produced in foam and vinyl fabric, TumbleTime resembles a gymnastic mat. The design is involved geometry that allows children to discover geometric relationships while playing with their furniture. TumbleTime has thousands of configurations demonstrated by 3D computer renderings and animations produced using Autodesk 3ds Max.

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Rawles, Erica M. "The Changing Meanings of Memory, Space, and Time in Photography." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1520.

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What happens to the memories that are left behind in photographs when the person who’s memories they are passes away? After the passing of both my mother and my grandmother, I began to notice the fleeting significance of photographs. I spent time going through boxes of pictures they had saved and every so often I would come across an old photo of someone or something that no one in my family could find a meaning behind or attach a significance to. This paper reveals how the meaning and importance of photographs shift over time from the perspective of the photographer to that of the preserver. I discuss the history of photography and its evolution from a purely scientific method of recording to fine art. I also discuss the psychology behind taking a photograph, looking at the art historical and philosophical writings of Susan Sontag and John Berger to discover how photography relates to memory, nostalgia, mortality, and the presence of the absent. Putting my own work in a historical context, I examine the works of contemporary artists dealing with similar themes of photography, physical space, and memory, such as Carmen Argote, Manal Al Dowayan, Christian Boltanski, and Doris Salcedo. For my senior project, I contemplate the mystery behind my mom's decision to photograph unsuspected places. I explore the passage of time and the vulnerability of memories as they relate to photography. Through an installation of hanging panels of photographs printed on sheer fabric, my piece works to explore these two main themes: the preservation of memory and the space that grief fills.

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Purcell, Marisa. "Ancestral spaces time, memory and the liminal experience of painting /." Connect to full text, 2007. http://hdl.handle.net/2123/2763.

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Thesis (M.V.A.)--University of Sydney, 2008.
Title from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.

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Lin, Hoi-to Maurice, and 練海濤. "Time, space and femininity in Wong Kar-wai's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953657.

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McNamee, Aaron. "Some Kind of Time." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1194.

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This critical analysis examines the progression and trajectory of my studio practices over the final two years of my graduate career. The pinnacle of my development became a meditation on time and its overall encompassing effects. The mundane and the fantastic are all bound by time. Many archetypes have ventured to escape the clutches of time. Found objects are remnants of time, linking past to present, present to future. Scars and blemishes are also vestiges of time, marking us like scratches on a record. The detritus of our lives defines our time, as it defines us. This thesis will elaborate on my exploration of time and its implications. It will describe works and identify the evolution of concepts from one work to the next. By defining what the work is and how it operates, the analysis will explore the larger implications of that work.

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Egberg, Thyme Karin. "What do you see? : studies on time-limited psychodynamic art psychotherapy." Doctoral thesis, Umeå universitet, Onkologi, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1684.

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The main purpose of this thesis is to explore experiences of two different psychological interventions based on art psychotherapy in women with a psychological or physical illness. The two interventions are art psychotherapy and art therapy. The difference between these two interventions is that the art therapist works with the transference in art psychotherapy but not in art therapy. The thesis consists of two studies of art psychotherapy: An art psychotherapy intervention is evaluated in Study 1 (papers III and V) which examines a group of patients diagnosed with depression and Study 2 (paper II) which examines experiences in a group of six patients diagnosed with vulva vestibulitis. An art therapy intervention is evaluated in the third study (papers I and IV); where experiences in patients diagnosed with breast cancer are examined. In Study 1, forty-three (n=43) depressed women were randomly assigned to either an intervention group or a control group (verbal psychotherapy). The aim was to examine the outcome of time limited psychodynamic art therapy compared to time-limited psychodynamic verbal therapy for patients with depressive symptoms. Interviews were performed before, immediately after, and three months after the termination of psychotherapy, and self-rating scales which focus on stress reactions, depression and symptoms as well as an observer rating scale on depression were used. The interviews and the art sessions were video-recorded, and the verbal psychotherapy was tape-recorded. The results showed that the art and verbal psychotherapies were comparable. The conclusion was that short-term psychodynamic art psychotherapy could be a valuable treatment for depressed women. In an in-depth content analysis, the method of scribbling was further investigated and exemplified with the therapies of two participants. In this study, the patients’ pictures and verbal expressions of progress, along with considerations of how to interpret the pictures were in focus. When leaving therapy the two patients took advantage of the paper, made complete forms, symbolised in words what they have expressed in pictures; in pace with psychotherapy the themes alter towards separation, individuation, and attempt to relate in a new way. The conclusion was that limelimited psychodynamic art therapy suggests giving a safer place for the self as the cohesion is firmer with better boundaries. Study 2 is a pilot study, which involved six young patients newly diagnosed with vulva vestibulitis. The aim of the study was to investigate pain at vestibulum, mental health, and self-image after fifteen sessions of art psychotherapy. Five of the patients were judged to have less pain three months after termination of therapy. The conclusion was that art psychotherapy with its openness seemed to affect young women in their experiences of vulva vestibulitis in a positive direction. Study 3 examined the potential benefit of art therapy for women with primary breast cancer. The sample comprised forty-one (n=41) patients who were randomly assigned either to an art therapy group or to a control group. The art therapy was going on during five weeks radiation treatment, one session per week. The aim was to investigate the outcome of art therapy, to quantify and compare the participant coping s, self-image, and the symptoms with the participant in the control group. Interviews were performed before, immediately after, and six month after inclusion. A set of self-rating scales was used: Coping Resources Inventory, the Structural Analysis of Social Behavior, and Symptom Check List – 90. The result showed that the patients in the art therapy group rated their coping s and especially their social s, higher than the control group, and that the average patients in the art therapy group improved in depressive symptoms and symptoms of anxiety, and that the general psychiatric symptoms improved as well. A linear regression analysis showed a tendency that the coping s increased in the art therapy group and decreased in the control group or even stagnated in the social domain. A second report on self-image, symptoms, treatment, and social variables showed that art therapy was related to lower ratings of depression, anxiety, and general symptoms after treatment; chemotherapeutic treatment predicted lower depressive symptoms and general symptoms in contrast to axilliary surgery and hormonal treatment. The results showed that art therapy could be valuable complementary therapy in routine oncology practise. The conclusion is that art therapy can have a positive long-term effect on the crisis following the primary breast cancer and its consequences. Conclusion: The results show that time-limited psychodynamic art psychotherapy is valuable for depressed women; that it is a valuable complement for women with vulva vestibulitis; and that art therapy is a valuable complement in the care and cure of women with primary breast cancer.

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Santamas, Mihalis. "The space between : time, memory and transcendence in audio-photographic art." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/29144/.

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This portfolio and commentary documents an approach to audiovisual composition that utilises sound and photographic images in an effort to create immersive, affective art which I call audio-photographic art. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. I draw upon Gernot Böhme's writings on the aesthetic of 'atmosphere', as well as the the theoretical writings of Roland Barthes, Paul Ricoeur and Eleni Ikoniadou among others to illustrate how this experience is constituted. This space between is an affective conceptual space in which the participant enters into a relationship with the materials of the piece, transcending their usual perception of time as they are immersed in the internal times of the artwork, their own memories and atmosphere. Through the use of maximal aesthetics and atmosphere as compositional tool, these themes are explored and developed throughout the creative portfolio. In the written submission I study the practical and theoretical concerns of the space between from three perspectives: 'The Temporal Space', 'The Memorial Space' and 'The Atmospheric Space'.

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Guptabutra, Toeingam. "Giving shape to time : an investigation into mixed-media installation." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/2310/.

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This research investigates ways of shaping time and identifying the characteristics of time that evolve in my art practice with reference to a synthesis of two and three-dimensional material, sound, and video. The nature of this study is a three-way material exchange between theoretical discourses, my practice, and audience response. The theoretical discourse includes a survey of the notions of time from different fields of knowledge from science, literature, anthropology, and memory studies. Additionally, an analysis of two contemporary installations, Normal & Nature by a Thai artist, Kamin Lertchaiprasert, and Going Forth by Day by an American artist, Bill Viola, is included. Project 1, A solo show by Toeingam Srisubut, featured three art pieces: time-scape, container site, and ... and a real TV. The first project explored the potential media that can give shape to time and make the characteristics of time explicit. My evaluation of this project focuses on analysing the characteristics of time that grow out of my three works, and examining the audience's multiple readings of time that reveal various indicators, e.g. spaces, narratives, audience's and my memories, and certain Thai social and economic elements. In Project 2, a sound and performance installation Rush Hour, narrative, space, and audience participation are considered specifically. I am testing out how effective the three indicators can give shape to time, and identifying the different characteristics of time of the installation placed in a specific environment of Koh Samui. Project 3, a mix-media installation, When I grow rich, say the bells of Shoreditch, re-tested the three indicators. This project demonstrates my personal, cultural engagements and interpretations of these indicators. The research identifies further areas for potential studies within various aspects of time as well as practical ways of giving shape to it.

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Bakker, Jeremy, and jeremybakker@yahoo com. "Alone together: investigating time experienced physically in the context of contemporary communication technologies." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091106.102500.

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This project will investigate how daily encounters with digital technologies and the sense of rapid comprehension that they require can be used to make tactile and contemplative visual artwork. Completed over 3 years, studio work will be undertaken with the goal of making art that engages with a physical experience of time in terms of the range of technologically complex and disembodied ways of communicating today.

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Perrin, Steve. "The plughole of time." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/30107.

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This thesis is comprised of a survey of all the varying influences behind the author's art making. All pre-occupations are included, the concepts of childhood memory; the use of imagination; the ability to comprehend and put together an old fashioned story in varying forms; as well as considering the notion of blurring historical and actual fact with personal elements of fantastical fiction. These themes have all been threaded delicately through the motif of time-travel, the author's personal favourite of literary genres. The main aim has been to make an attempt to re-create the feelings of childhood.Whilst embracing whimsy, the absurd and the time travel genre, this project hopefully shows a struggle and is an allegorical comment on the author as an artist, who having lost a little of his faith in the world and his abilities, becomes seduced by a new focus.

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Perrin, Steve. "The plughole of time." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.105558/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003.
"A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Master of Arts (Honours) Creative Arts" Includes bibliography.

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Mixon, Emily Don. "The lightness of being and the burden of gravity." Click here to access thesis, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/emily_d_mixon/Mixon_Emily_D_200808_MFA.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2008.
"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Directed by Jessica Hines. ETD. Includes bibliographical references (p. 36)

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Tillotson, Zoe. "Ephemeral art : a philosophical proposition about the nature of time and being." Thesis, University of the Arts London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650331.

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Rondon, Andueza Pedro Jose. "Shortening the execution time in projects: a state-of-the-art survey." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for industriell økonomi og teknologiledelse, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-25971.

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In the construction world, today’s intense market dynamics force project owners to require faster construction times, without compromising the quality or increasing the costs. This situation has created a need for replacing the old traditional methods of construction and introducing effective tools and practices that can help to achieve a substantial reduction in the project cycle time. The subject of project schedule compression has been hovered around for some time now in the academic literature, but it is still a scattered subject in which many terms and concepts may be understood differently depending on one’s point of view. The research presented in this thesis surveyed the academic literature to identify tools and practices currently used to reduce the overall project cycle time. Three important academic Project Management journals were particularly reviewed and analyzed to determine the state-of-the-art regarding techniques and methods of schedule compression. This research also identified the most common factors affecting construction projects in terms of time. This thesis concludes that the first step towards revolutionizing the construction world implies finding a common ground where all the concepts and practices are understood in the same way by everyone. Then, the subject of reducing the project cycle time should be raised as an “optimization” in which the objective is to find a balanced solution taking into consideration the particular characteristics and the context of each project. This report can be used both as preparatory work to open up new research paths on the subject and also as a guide for practitioners looking for ways to improve project performance.

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Huh, Sang Hee. "Time-measuring device : making your own history of remembrance box with childhood's physical growth /." Online version of thesis, 2008. http://hdl.handle.net/1850/7742.

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Coffey, Christine. "Making Time." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1595.

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We are living in an age where the quantity of information has exceeded its quality. No doubt the digital and information revolutions have provided the world with countless positive improvements, but they have also increased the speed at which we live and work to the detriment of the heath of our world. This project explores ways in which designers can aid in an effort to slow down in order to reinvigorate a more sustainable graphic design product.

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Zietz, Jeremy P. "Holistic Products: Designing With Time, Gifts, and Ritual." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4300.

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The notion of “you are what you buy” is an updated adage from “you are what you eat”. It makes a connection between our everyday objects and their effect on our lived experience. Looking at our relationships with our things as a type of contract, we must be intentional to shape these object contracts for our own good and health. Instead of our society’s design talents being put toward a consumerist agenda, designers must direct research and development which addresses the effects of our products holistically. Various concepts have emerged in my creative practice which demand a deeper research and development. These are concepts of little interest to the corporate product developer, as they appeal to agendas beyond profit. Just as the slow food movement responds to fast food and “Big Ag”, the concepts of time, gifts, ritual emerge as virtues which demand development in our products. These concepts are not an answer to consumerism. However, they are tastes that have fallen off of our product diet. I point to various works works of art and design, of my own and others, which seek to renew the vastness of our potential experience with everyday objects. Instead of choosing from the corporate offering, we may take a more critical view of design which looks at our holistic experience with our products.

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Langille, Nicole. "Of Measure and Material." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243885956.

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Lin, Hoi-to Maurice. "Time, space and femininity in Wong Kar-wai's films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262233.

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Trimm, Alexandra. "The Frozen Moment: Representations of Space, Time and the Experiential in Installation Art." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/313.

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This paper examines the history of installation art and explains the concept and themes within my installation component of the studio art major. It details how readymades, site-specificity, and an emphasis on experiential work all contributed to the creation of installation art as a medium. Next, I turn to my own work, exploring the theme of representing time and altering the perceptions of the viewer. Through a web of fishing line and tempered glass, the installation visually imitates a single, frozen moment of an explosion that the viewer can walk into and explore. The paper continues with a discussion of relevant themes in the work by contemporary artists Ori Gerst, Heide Fasnacht, Cornelia Parker, E.V. Day, Lee Bontecou, and James Turrell, and concludes with ideas for the continuation of the project in the spring 2014 semester.

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Meynell, Katharine. "Time-based art in Britain since 1980 : an account of an interdisciplinary practice." Thesis, Royal College of Art, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323001.

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Willauer, Christian 1969. "Time and space limited : community art and neighborhood development in Hudson, New York." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/70729.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2000.
Includes bibliographical references (leaves 91-96).
Facing disinvestment and unemployment, many places look to culture-based strategies for revitalization. Traditional models of culture-based community revitalization, however, have been criticized for contributing to gentrification, social polarization, and cultural discrimination. Communities seeking to avoid the contradictions of market oriented culture-based revitalization strategies can look to the efforts of community based organizations for models of how culture and the arts can contribute to revitalization without being limited to defining the benefits of their efforts solely in economic terms. In this thesis, I describe the efforts of one arts organization, Time & Space Limited (TSL), as an example of this process. Through an in-depth case study, I describe the role of TSL, a community-based arts organization, in creating an alternative strategy for community revitalization through the arts in Hudson, New York.
by Christian Willauer.
M.C.P.

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Deshpande, Ajay A. "A pseudo-polynomial time O(log² n)-approximation algorithm for art gallery problems." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36243.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering; and, (S.M.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2006.
Includes bibliographical references (p. 55-56).
In this thesis, we give a pseudo-polynomial time O(log² n)-approximation algorithm for a variant of the art gallery problem the point-guard problem. The point-guard problem involves finding the minimum number of points and their positions so that guards located at these points cover the interior of the art gallery. Our algorithm is pseudo-polynomial in the sense that it is polynomial in the number of walls of the art gallery but is possibly exponential in the number of bits required to represent the positions of the vertices of the art gallery. Our approach involves reducing the point-guard problem to a new problem of choosing a minimum number of guard-locations from a finite set obtained by a special subdivision procedure. The new problem has the optimal solution at most three times the optional solution of the point-guard problem. We further reduce the new problem to the set cover problem and obtain an approximate solution to the set cover problem.
by Ajay A. Deshpande.
S.M.

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Flint, Rob. "Film, video, and digitality : an analysis of cultural form in time-based media." Thesis, University of the Arts London, 2004. http://ualresearchonline.arts.ac.uk/2021/.

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This thesis examines the material properties of time-based image media, in particular live video. The project is practice-based with a theoretical underpinning drawn from the debates on form and meaning associated with Walter Benjamin.

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Anton, Anargyros Anastasios. "Bus Seating in Arlington, Virginia: ART Passenger Demographics, Seating Preferences and Dwell Time Efficiency." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/54597.

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Boarding, alighting and seating maneuvers were monitored on selected Arlington Transit (ART) bus routes in order to determine the link between passenger demographics, seating preferences and boarding and alighting times within the system. The data collection methodology employed digital stopwatch timings of boardings and alightings in conjunction with a coordinate-based spreadsheet seating chart tracking system in order to document passenger movements and seating occupancies. Passengers were visually profiled according to their ethnicity, sex, general age group and bulkiness. Multiple linear regression analysis was used to develop boarding and alighting models, and t-tests were used to isolate statistically significant differences between profiled groups in terms of their seating preferences and inter-group separation distances aboard the buses. It was observed that female passengers tend to sit closer to other passengers than males do, and that older female passengers have a preference for sitting in aisle seats and towards the lower level front of the bus - each of these preferences is linked with shorter boarding times. Males, in general, tend to prefer window seating to aisle seating, and this preference is linked with longer boarding and alighting times. It was also observed that younger passengers prefer less efficient upper level seating to lower level seating and that white passengers, on average, tend to sit closer to other white passengers on routes where whites are a minority in terms of passenger composition. Monetary fare payment was observed to contribute to longer boarding times than the use of a swipe card (e.g., SmarTrip® card).
Master of Science

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Yau, Ka-fai. "Of graphology : notions of space & time in contemporary cultures /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21790929.

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Chen, Kuake. "“Duration-object” A materialist animation to perceive time in the form of folded extra dimensions." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18950.

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Time flies out of reach of the human’s sensory organ, apparently because time never stops and no two instants coexist. But string theory says past, present and future might coexist in extra dimensions. If that is the case, hyperspaces’ perception of time can stand as a supplement to the known. If our perception of time is only a shadow which is cast onto our three-dimensional space, what will the hidden appearance of time be like? From a philosophical aspect, this dissertation follows Henri Bergson’s theory and reinvestigates his “duration” concept within the context of an extra dimension. In addition, I follow Gilles Deleuze’s attempt to represent duration, he was confronted with a technical limitation of cinema and proposed the concept: “movement-image” to complete duration in the rule of consciousness. Following that, I neologize “duration-object” as a probe to represent duration in a physical form by collapsing time into the three dimensions. My duration-object concept aims at building a bodily-connection between the hyper-dimensional manifestation of time and spectators. Case studies of related artworks position the duration-object as a materialist animation by spotting the mechanism in pre-cinema apparatus, the video installation art spectatorship and the opening up of kinetic art in it. In my work, sculpture-animation, a volumetric display of movement, is utilised to construct “duration-object”. When the movement which inhabits within my duration-object is unfolded by the moving light plane, a simultaneous multi-dimensional manifestation of time will be provided when the perception rests in the realm of the body. This thesis intends to propose a possible approach to enable people to seize time in the framework of hyperspaces with their sensory system.

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Penrose, Joshua Adam. "Situating Sound." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282156333.

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Dissertations / Theses on the topic 'Time and art'

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